825646339921.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

825646339921.Pdf Pure Maria Callas 1 L’amour est un oiseau rebelle (Habanera) (Bizet Carmen ) 4.27 Chœurs René Duclos Orchestre du Théâtre National de l’Opéra de Paris Georges Prêtre 2 Casta Diva (Bellini Norma ) 5.35 Coro e Orchestra del Teatro alla Scala di Milano Tullio Serafin 3 O mio babbino caro (Puccini Gianni Schicchi ) 2.36 4 Ebben? ne andrò lontana (Catalani La Wally ) 4.52 Philharmonia Orchestra / Tullio Serafin 5 Ah, fors’è lui (Verdi La traviata ) 3.06 6 Sempre libera (Verdi La traviata) 3.59 Francesco Albanese tenor Orchestra Sinfonica di Torino della RAI Gabriele Santini 7 Vissi d’arte (Puccini Tosca ) 3.18 Orchestra del Teatro alla Scala di Milano Victor de Sabata 8 Un bel dì vedremo (Puccini Madama Butterfly ) 4.44 Orchestra del Teatro alla Scala di Milano Herbert von Karajan 2 9 La mamma morta (Giordano Andrea Chénier ) 4.52 Philharmonia Orchestra / Tullio Serafin 10 Donde lieta uscì (Puccini La bohème ) 3.24 Orchestra del Teatro alla Scala di Milano Antonino Votto 11 Ecco: respiro appena. Io son l’umile ancella 3.48 (Cilea Adriana Lecouvreur ) Philharmonia Orchestra / Tullio Serafin 12 Il dolce suono (Donizetti Lucia di Lammermoor ) 2.58 Orchestra del Maggio Musicale Fiorentino Tullio Serafin 13 D’amor sull’ali rosee (Verdi Il trovatore ) 4.06 Orchestra del Teatro alla Scala di Milano Herbert von Karajan 14 Ave Maria (Verdi Otello ) 4.47 Orchestre de la Société des Concerts du Conservatoire Nicola Rescigno 15 Una voce poco fa (Rossini Il barbiere di Siviglia ) 6.21 Philharmonia Orchestra / Alceo Galliera 3 16 J’ai perdu mon Eurydice (Gluck Orphée et Eurydice ) 4.25 17 Mon cœur s’ouvre à ta voix (Saint-Saëns Samson et Dalila ) 5.20 Orchestre National de la Radiodiffusion Française Georges Prêtre 18 Les tringles des sistres tintaient (Chanson bohème) 4.29 (Bizet Carmen ) Nadine Sauterau soprano · Jane Berbié mezzo-soprano Chœurs René Duclos Orchestre du Théâtre National de l’Opéra de Paris Georges Prêtre 77.56 Maria Callas soprano 4 Pure Maria Callas Opera singers come and go, but just a few – the legends – live on. And Maria Callas was the greatest legend of them all, though not just for the wonder of her voice. She changed the way people thought about opera, but she also became famous as the glamorous celebrity who fell in love with Aristotle Onassis, leaving her elderly husband to live with him on his yacht Christina and enjoy the high life with the international jet set. Of course it ended badly. She lived her life like one of her own tragic heroines who (as women tend to do in opera) sing, suffer and die. And her own death came at just 53, after a dazzling but short career that took in heavy roles alongside decorative, nightingale-like ones – ignoring the established rules of vocal health and probably explaining why her voice finally gave out as it did. But in that time she did extraordinary things, using the muscle of those heavy heroines to empower the nightingales with strength and depth of feeling nobody had thought to offer them before. She gave them credibility as drama. Her performances were absolute and self-exposing: she held nothing back. And she was even tougher on herself than she could be on others – which is why her voice was never quite the flawless instrument singers are meant to cultivate. Her personality was far too volatile and too self-sacrificing in its love affair with risk. In the mythology of opera, though, that’s what the audience demands. We want the diva to be both a goddess and a slave: to give her life for art. We thrill to the dimension of that sacrifice. And Callas dutifully obliged. Ꭿ MICHAEL WHITE , 2014 Maria Callas in Reinform Opernsängerinnen kommen und gehen, doch nur wenige – die Legenden – leben fort. Und Maria Callas war die größte Legende von allen, wenn auch nicht ausschließlich aufgrund ihrer wundervollen Stimme. Sie veränderte die Art und Weise, wie Menschen über die Oper dachten, doch sie wurde auch als glamouröse Berühmtheit bekannt, die sich in Aristoteles Onassis verliebte und ihren älteren Ehemann verließ, um mit Onassis auf seiner Jacht Christina zu leben und das verschwenderische Leben mit dem internationalen Jet-Set zu genießen. Natürlich nahm dies kein gutes Ende. Sie lebte ihr Leben wie eine ihrer tragischen Heldinnen, die (wie Frauen das in Opern tun) singen, leiden und sterben. Ihr eigener Tod ereilte sie im Alter von nur 53 Jahren nach einer beeindruckenden aber kurzen Karriere, in der sie gewichtige Rollen ebenso wie auch leichtere, melodiösere sang – wobei sie die etablierten Regeln zur Stimmgesundheit ignorierte, was vermutlich erklärt, warum ihre Stimme schließlich zu einem solchen Ende kam. Doch innerhalb dieser kurzen Zeit vollbrachte sie Außerordentliches und verwendete die Kraft ihrer schwergewichtigen Heldinnen, um den nachtigallenhaften Rollen eine Stärke und Gefühlstiefe zu verleihen, die ihnen zuvor noch niemand hatte angedeihen lassen. Sie gab ihnen dramatische Glaubwürdigkeit. Ihre Interpretationen waren uneingeschränkt und selbstenthüllend: Sie hielt nichts 5 zurück. Sie war noch viel härter zu sich, als zu anderen – weshalb ihre Stimme nie gänzlich das makellose Instrument war, das man als Sänger pflegen sollte. Ihre Persönlichkeit war viel zu sprunghaft und stürzte sich zu selbstaufopfernd in die Liebesaffäre mit dem Risiko. In der Mythologie der Oper jedoch ist dies genau, wonach das Publikum verlangt. Wir möchten, dass die Diva sowohl eine Göttin als auch eine Sklavin ist; dass sie ihr Leben der Kunst opfert. Wir sind fasziniert vom Ausmaß dieser Aufopferung. Und Maria Callas fügte sich pflichtschuldigst. MICHAEL WHITE Übersetzung: Leandra Rhoese Maria Callas à l’état pur Les cantatrices d’opéra vont et viennent mais seules quelques-unes – les légendes – passent à la postérité. Maria Callas était la plus légendaire d’entre toutes, et pas seulement pour sa voix merveilleuse. Elle fit évoluer le regard que les gens portaient sur l’opéra mais elle acquit également sa notoriété pour avoir été la femme pleine de charmes qui tomba amoureuse d’Aristote Onassis et quitta son mari plus âgé pour vivre avec lui sur son yacht Christina et jouir d’une vie de luxe en compagnie du beau monde international. Évidemment, l’histoire se finit mal. Elle vécut sa vie comme l’une des héroïnes qu’elle interprétait et qui (comme c’est souvent le destin des femmes dans l’opéra) chantent, souffrent et meurent. Sa propre mort survint à cinquante-trois ans seulement, après une carrière éblouissante mais courte pendant laquelle elle incarna des rôles dramatiques ainsi que des rôles plus légers et mélodieux – sans se soucier des règles de vie et d’hygiène pour préserver sa voix, ce qui explique pourquoi elle se brisa finalement comme elle le fit. Mais pendant ce temps-là, elle réalisa des choses extraordinaires, utilisant l’épaisseur de ses héroïnes dramatiques pour conférer aux rôles légers la force et la profondeur de sentiment comme personne ne l’avait fait auparavant. Elle leur prêta de la crédibilité et du dramatisme. Ses exécutions étaient absolues et sans retenue : elle était complètement à découvert. Elle était même plus exigeante avec elle-même qu’elle ne pouvait l’être envers les autres – ce qui explique pourquoi sa voix ne fut jamais tout à fait l’instrument irréprochable que les chanteurs sont censés cultiver. Sa personnalité était bien trop explosive et pleine d’abnégation dans son histoire d’amour avec le risque. Dans la mythologie de l’opéra, toutefois, c’est ce que le public réclame. Nous voulons que la diva soit à la fois une déesse et une esclave : qu’elle donne sa vie pour l’art. Nous frissonnons face au poids de ce sacrifice. Et Callas s’est fait un devoir de nous combler. MICHAEL WHITE Traduction : Noémie Gatzler 6 L’immortale Callas I cantanti d’opera vanno e vengono: solo a pochi è concesso di diventare vere e proprie leggende. Maria Callas fu la più grande leggenda in assoluto, anche se non esclusivamente per via della sua voce meravigliosa. Se da un lato è innegabile che abbia cambiato la concezione che il pubblico aveva dell’opera, è vero, d’altro canto, che divenne famosa anche come celebrità del mondo glamour quando si innamorò di Aristotele Onassis ed accompagnò l’anziano marito sul suo yacht Christina godendosi la grande vita del jet set internazionale. La storia finì male. Maria Callas visse la sua vita come una delle tante tragiche eroine che aveva impersonato, le quali cantano, soffrono e muoiono. Morì all’età di appena 53 anni dopo una spettacolare ma breve carriera in cui interpretò sia ruoli molto importanti e impegnativi che ruoli più leggeri e “decorativi” – ignorando ogni regola relativa alla salute vocale, il che probabilmente è la ragione per cui la sua voce si esaurì. Ma durante quel breve arco di tempo fece miracoli, usando la forza di quelle eroine “pesanti” per infondere ai ruoli più leggeri una potenza e una profondità emotiva come nessuno aveva mai fatto prima di lei, conferendo a questi personaggi una credibilità sotto il profilo drammatico. Le sue rappresentazioni erano incondizionate e auto rivelatrici: Maria Callas non nascondeva assolutamente nulla. Era addirittura più dura con se stessa che con gli altri – ed è questa la ragione per cui la sua voce non fu sempre quello strumento impeccabile che i cantanti in teoria dovrebbero coltivare. La sua personalità era troppo volatile e troppo disposta ad auto sacrificarsi nella sua costante tentazione di affrontare rischi. Nella mitologia dell’opera, tuttavia, è proprio questo che il pubblico cerca: da un lato vuole che la diva sia una specie di divinità, ma al contempo una schiava, che sacrifichi, insomma, la sua vita per l’arte.
Recommended publications
  • Verdi Week on Operavore Program Details
    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
    [Show full text]
  • 111082 Bk Callaseu 15/03/2005 11:26Am Page 5
    111082 bk CallasEU 15/03/2005 11:26am Page 5 BELLINI: Norma: DONIZETTI: Lucia di Lammermoor: VERDI: La traviata: WAGNER: Tristan und Isolde: ADD 1 Casta Diva (Act I) 7:27 [Mad Scene, Act III] ! Libiamo ne’ lieti calici (Act I) 3:16 & Liebestod (Sung in Italian) 7:44 GREAT SINGERS • CALLAS Orchestra of Teatro alla Scala, Milan 5 Il dolce suono 3:01 with Francesco Albanese, Tenor Turin Italian Radio Symphony Orchestra 8.111082 Tullio Serafin, Conductor and Chorus Arturo Basile, Conductor Recorded in the Cinema Metropol, Milan, 1954 6 Ohimè! Sorge il tremendo 3:20 Recorded by CETRA on 8th November 1949 (From Naxos 8.110325-27) @ E’ strano! E’ strano! (Act I) 1:27 Matrix 2-71294/5; Cat. No. CB 20841 7 Ardon gli incensi; splendon le sacre faci 5:26 (From Naxos 8.110302-04) with Gino Sarri, Tenor # Ah, fors’è lui (Act I) 3:01 Maria BELLINI: I Puritani: Raffaele Arié, Bass Turin Italian Radio Symphony Orchestra 2 O rendetemi la speme (Act II) 1:47 and Chorus Gabriele Santini, Conductor with Nicola Rossi-Lemeni, Bass 8 Spargi d’amaro pianto 3:46 Recorded at the Auditorium RAI, Turin, 1953 CALLAS and Rolando Panerai, Baritone with Raffaele Arié, Bass (From Naxos 8.110300-01) Tito Gobbi, Baritone 3 Qui la voce sua soave (Act II) 8:41 and Chorus with Nicola Rossi-Lemeni, Bass PUCCINI: Tosca: and Rolando Panerai, Baritone Chorus and Orchestra of the Maggio Musicale $ Mario! Mario! Mario!... Son qui! (Act I) 2:07 A Portrait Fiorentino with Giuseppe Di Stefano, Tenor 4 Son vergin vezzosa (Act I) 3:46 Andrea Morosini, Chorus Master with Aurora Cattelani,
    [Show full text]
  • Tempesta a Montecitorio Mentre Il Compagno To­ Manza Immediata Dell'ag­ Strada
    ••)'. i, e ' ., ,,' J* é * r • > 'Vi DlRLZlONfc t AMMiNlSlKAZlONfc. - KOMA >•' r Via IV Nottua., 14» |«| «7|2| «3.521 «144* «7J4S InTERURBANE: AauuaiiiraziaM «M7H gaéasiaM ft.«js Viva i lavoratori romani ^ PES3E2I D'ABBONAMENTO Anno gim lYlm. UNITA ,a»o f.VOO che hanno dato una fiera (con «4lilon« «MI lun*dl) T.3J0 1JW> RINASCITA ... ' 1400 no VIE NUOVE 1,«00 tOOtaOo «00 risposta ai nemici della Siamone tu ***t9*aunu> potute. Vnmto emr—tr 140«untal0 a news* PUBBLICITÀ': min colonna . Commercial*: CtiMtu i» 1S0 • Donavi- Costituzione e del Parla­ cale u 300. Echi rpetUcoU L 1M • Cronaca L l«o • N«eroio«t« C 130 - Finanziaria, Batch* u. soo . unti L. JBO • Rivolger* (SPI), via ,1 del Parlamento » . Roma . Tei CUT» . «S.sM e «urcurwH »n Italia ORGANO DEL PARTITO COMUNISTA ITALIANO mento repubblicano! ^^—^^—^^- • . .- . ANNO XXX (Nuova Som) - N. 21 MERCOLEDÌ* 21 GENNAIO 1953 Una copisi L. 25 - Arretrate L. 30 j IL POPOLO UNISCE LA SUA VOCE POTENTE A QUELLA DEI DEPUTATI D'OPPOSIZIONE alla provocazione di scema e al ladri ti l seggi 11 centro della Capitale e Montecitorio in stato d'assedio mentre continua nell'aula la battaglia contro i nemici della Costituzione - L'ener­ gica dichiarazione di voto di Togliatti - Compatta riuscita dello sciopero generale a Roma - Possenti manifestazioni nelle strade della città Il compagno Ingrao ferito alla testa dalla polizia di Sceiba - Drammatico tumulto alla Camera La dichiarazione del compagno Togliatti Tempesta a Montecitorio Mentre il compagno To­ manza immediata dell'ag­ strada. La Capitale è in stato gliatti pronuncia le ultime gressione subita: egli aveva d'assedio! Solo perchè passa' - PRESIDENTE: E' iscritto di incostituzionalità, che fan­ parole della sua dichiarazio­ una larga ferita alla testa vo per il Tritone sono stato a parlare l'onorevc'e Togliat­ no riflettere chiunque abbia ne, il compagno Giolitti en­ che cercava di tamponare aggredito e bastonato dalla ti.
    [Show full text]
  • 1. Early Years: Maria Before La Callas 2. Metamorphosis
    ! 1. EARLY YEARS: MARIA BEFORE LA CALLAS Maria Callas was born in New York on 2nd December 1923, the daughter of Greek parents. Her name at birth was Maria Kalogeropoulou. When she was 13 years old, her parents separated. Her mother, who was ambitious for her daughter’s musical talent, took Maria and her elder sister to live in Athens. There Maria made her operatic debut at the age of just 15 and studied with Elvira de Hidalgo, a Spanish soprano who had sung with Enrico Caruso. Maria, an intensely dedicated student, began to develop her extraordinary potential. During the War years in Athens the young soprano sang such demanding operatic roles as Tosca and Leonore in Beethoven’s Fidelio. In 1945, Maria returned to the USA. She was chosen to sing Turandot for the inauguration of a prestigious new opera company in Chicago, but it went bankrupt before the opening night. Yet fate turned out to be on Maria’s side: she had been spotted by the veteran Italian tenor, Giovanni Zenatello, a talent scout for the opera festival at the Verona Arena. Callas made her Italian debut there in 1947, starring in La Gioconda by Ponchielli. Her conductor, Tullio Serafin, was to become a decisive force in her career. 2. METAMORPHOSIS After Callas’ debut at the Verona Arena, she settled in Italy and married a wealthy businessman, Giovanni Battista Meneghini. Her influential conductor from Verona, Tullio Serafin, became her musical mentor. She began to make her name in grand roles such as Turandot, Aida, Norma – and even Wagner’s Isolde and Brünnhilde – but new doors opened for her in 1949 when, at La Fenice opera house in Venice, she replaced a famous soprano in the delicate, florid role of Elvira in Bellini’s I puritani.
    [Show full text]
  • Bellini's Norma
    Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation.
    [Show full text]
  • Verdi's Rigoletto
    Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.
    [Show full text]
  • Umberto Giordano Andre Chenier Mp3, Flac, Wma
    Umberto Giordano Andre Chenier mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Andre Chenier Country: Netherlands Released: 1987 Style: Opera MP3 version RAR size: 1125 mb FLAC version RAR size: 1458 mb WMA version RAR size: 1180 mb Rating: 4.5 Votes: 684 Other Formats: MP1 MOD AU MPC DTS MP4 AAC Tracklist A1 Akt I 29:08 A2 Akt II 27:19 B1 Akt III Beginning 28:58 B2 Akt III Conclusion 10:58 Notes Booklet in 4 language's 211 Pages Barcode and Other Identifiers Barcode: 5099704236919 Other versions Category Artist Title (Format) Label Category Country Year Giordano* - José Giordano* - José Carreras, Éva Carreras, Éva Marton, Giorgio Marton, Giorgio CBS Zancanaro, 54DC5007-8 Zancanaro, Masterworks, 54DC5007-8 Japan 1987 Hungarian State Hungarian State CBS/Sony Orchestra, Giuseppe Orchestra, Patanè - Andrea Giuseppe Patanè Chénier (2xCD) Giordano* - José Giordano* - José Carreras, Eva Carreras, Eva Marton*, Giorgio Marton*, Giorgio Zancanaro, CBS M2 42369 Zancanaro, M2 42369 Germany 1987 Hungarian State Masterworks Hungarian State Orchestra, Giuseppe Orchestra, Patanè - Andrea Giuseppe Patanè Chenier (3xLP + Box) Umberto Giordano, Umberto Giordano, José Carreras, Eva José Carreras, Eva Marton*, Hungarian Marton*, State Orchestra, Hungarian State Hungarian State M2K 42369 Orchestra, CBS M2K 42369 Europe 1987 Radio And Television Hungarian State Chorus*, Giuseppe Radio And Patanè - Andrea Television Chorus*, Chénier (2xCD, Giuseppe Patanè Album, Box) Related Music albums to Andre Chenier by Umberto Giordano José Carreras -
    [Show full text]
  • JOAN SUTHERLAND John Pritchard (1918–89)
    JOAN SUTHERLAND John Pritchard (1918–89). Walthamstow-born, John Pritchard learned his craft as principal conductor of the Derby String Orchestra, before joining the music staff of Glyndebourne in 1947. Appointed Chorus Master in 1949, he was soon sharing major Mozart productions with Fritz Busch, conducting the London Philharmonic Orchestra there and swiftly expanding his repertoire. The company’s Musical Director from 1969 to 1977, he was also a regular guest at the Royal Opera, where in 1955 he conducted the premiere of Tippett’s A Midsummer Marriage. His opera and concert work encircled the globe, with periods at the helm of many companies and orchestras, notably the Royal Liverpool Philharmonic and BBC Symphony. He was knighted in 1983. Though his full diary could result in perfunctory routine, fiery theatricality and a grasp of essentials inform his best work – not least in many studio and off-air recordings made with his ‘home’, Glyndebourne company, and for BBC radio. Joan Sutherland (1926–2010). The world-renowned soprano Joan Sutherland left her Sydney home for London in 1952, with the ultimate aim of singing Wagner. Contracted to Covent Garden, she felt her future lay in heavy, dramatic roles; and her early assignments there included Amelia in Verdi’s Un ballo in maschera and the title role in Aida. Soon her breathtaking agility, crystalline staccatos and unique stratospheric purity became evident – not least as Jenifer in Tippett’s The Midsummer Marriage, followed swiftly by the doll Olympia in Offenbach’s Les contes d’Hoffmann (both 1955). Although increasingly identified with the bel canto repertoire, until her 1959 Covent Garden triumph in Donizetti’s Lucia di Lammermoor she kept her options open.
    [Show full text]
  • Staged Treasures
    Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio
    [Show full text]
  • VERDI Also Available Simon Boccanegra
    8.110119-20 bk Boccanegra_EU 12/12/08 1:42 PM Page 12 VERDI Also Available Simon Boccanegra O GOB TIT BI 8.111334-35 8.111240-41 1 g 957 Recordin Tito Gobbi • Boris Christoff Victoria de los Angeles • Giuseppe Campora 8.111284-85 8.111332-33 Rome Opera House Chorus and Orchestra Gabriele Santini 8.110119-20 12 8.110119-20 bk Boccanegra_EU 12/12/08 1:42 PM Page 2 Great Opera Recordings pleads for death and Amelia is moved by his great love, whom he had thought dead. Boccanegra forgives him, seeking to heal old enmities. £ He returns, as a ghost, to avenge outrage. The lights & Shouts are heard outside and calls to arms, the start of begin to go out in the piazza outside. Boccanegra, Giuseppe the rebellion against the Doge, who bids Gabriele join his however, is relieved at Fiesco’s appearance and can friends. The latter demurs, now loyal to Boccanegra and announce peace between them. He tells him that his own VERDI rewarded with the hand of Amelia. daughter and Fiesco’s grand-daughter is Amelia Grimaldi. (1813 - 1901) Act 3 ¢ Fiesco weeps at the revelation. He hears in Boccanegra’s words the voice of Heaven. Boccanegra * From the Doge’s palace Genoa can be seen, seeks to embrace him, the father of his beloved Maria. Simon Boccanegra illuminated as for a festival. The shouts of the crowd are Fiesco tells Boccanegra of the poison. The latter is Opera in a Prologue and Three Acts heard, praising the Doge. growing weaker and collapses onto a seat, as Amelia, Text by Franceso Maria Piave as modified by Arrigo Boito ( A captain of the bowmen gives Fiesco back his sword Gabriele, ladies, gentlemen, senators and pages with and tells him he is free.
    [Show full text]
  • Don Carlo Mp3, Flac, Wma
    Verdi Don Carlo mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Don Carlo Country: US Released: 1979 Style: Romantic MP3 version RAR size: 1589 mb FLAC version RAR size: 1226 mb WMA version RAR size: 1632 mb Rating: 4.8 Votes: 852 Other Formats: AC3 AU XM APE ADX MMF AA Tracklist A1 Act 1. Su, Cacciator! Prontio La Belva 25:45 B1 Act 2. Scene 1. Carlo, Il Sommo Imperatore 17:38 B2 Act 2. Scne 2. Sotto Al Forti-Immensi Abeti 7:42 C1 Act 2. Scene 2. (Con't) La Regina 24:00 D1 Act 2. Scene 2. (Concl.) Restate . Presso Alla Mia Persona 11:55 D2 Act 3. Scene 1. Preludio . A Mezza Notte 15:00 E1 Act 3. Scene 2. Spuntato Ecco Il Di D'esultanza 20:15 F1 Act 4. Scene 1. Ella Giammai M'amò 30:00 G1 Act 4. Scene 1. (Concl.) Pietà! Pietà! 6:35 G2 Act 4. Scene 2. Son Io Mio Carlo 15:08 H1 Act 5. Tu Che Le Vanti 21:30 Credits Chorus, Orchestra – Chorus and Orchestra Of The Royal Opera House, Covent Garden* Composed By – Giuseppe Verdi Conductor – Georg Solti Libretto By – Camille Du Locle, Joseph Mery* Performer [A Celestial Voice] – Joan Carlyle Performer [A Friar] – Tugomir Franc Performer [A Royal Herald] – John Wakefield Performer [Count Di Lerma] – Kenneth MacDonald Performer [Don Carlo] – Carlo Bergonzi Performer [Elizabeth De Valois] – Renata Tebaldi Performer [King Philip Ii] – Nicolai Ghiaurov Performer [Princess Eboli] – Grace Bumbry Performer [Rodrigo] – Dietrich Fischer-Dieskau Performer [Tebaldo] – Jeannette Sinclair Performer [The Grand Inquisitor] – Martti Talvela Translated By [Libretto-rendered Into Italian] – A.
    [Show full text]
  • Verdi's Simon Boccanegra: a Survey of the Discography
    Verdi’s Simon Boccanegra: A survey of the discography by Ralph Moore I think of Simon Boccanegra as something of a connoisseur’s opera, insofar as it surely contains some of Verdi’s most inspired music, yet has from its premiere rightly been criticised for its labyrinthine plot – a caricature of typically operatic complications – and its consequent lack of accessibility for audiences. For that reason, the first version soon fell out of favour after its 1857 premiere, but Verdi, no doubt with justification, thought highly enough of the music to undertake a revision twenty-three years later with the help of Arrigo Boito, and the result, the 1881 version, is the one almost invariably performed today. The most important addition was the Council Chamber Scene; the opera would be much the poorer without it, but Verdi also revised a good deal of the music to render it far more ductile and atmospheric. The opera presents an admixture of personal and political turmoil such as we encounter in other mature operas like Les vêpres siciliennes and Don Carlos, but also capitalises on two archetypal themes very prevalent in Verdi’s operas and to which he frequently returned, both of which prompted the best of his music: the depiction of a loving but tortured father-daughter relationship of the kind we also see in Luisa Miller, Rigoletto and Aida and his concern for statesmanship, as exhibited in the appeals for peace, patriotism and brotherhood, rallying calls stretching right back to his earliest operas, such as Nabucco, I Lombardi, Attila and La battaglia di Legnano.
    [Show full text]